What literary devices contribute to the theme of the novel?
The comic, or “light and bright, and sparkling” tone of the novel adds
to the satirical outlook on the English upper class and social demands of the era. Satire is used to highlight the problems
of the upper-class in Regency England. Foreshadowing occurs only once, to hint at Elizabeth's eventual love for Mr. Darcy;
she is struck with admiration for Pemberley, which is a symbol for Darcy himself. The themes of love, reputation, and class,
as well as the motifs of journeys and courtship are prevalent in the novel.
Which literary devices are particularly unique and effective?
As Pride and Prejudice is labeled as a comedy of manners, Austen's ingenius
use of satire is essential to the novel. Austen perfected the technique of poking fun at social classes and bringing the nonsensical
side out, while still providing an accurate look into the world of Regency England. The motifs of journeys and courtship are
also a major player in the novel. Courtship begins to determine or at least shape a character's personality, and each
courtship becomes a spring board for the different sides of love, whether genuine or simply as a way to advance
on the social ladder.
How did Jane Austen use imagery to develop the setting and characters?
Imagery does not play a very significant role in Pride and Prejudice. It is
used to a minimal extent, as most of the novel takes place through dialogue. However, it is used when describing the beauty
of Pemberley. This estate,the only symbol in the novel, is of Mr. Darcy himself. The fact that the greatest imagery is used
when describing him may or may not be a concious tactic employed by Austen.
What are the symbols used in the novel?
Pride and Prejudice is a novel that is oddly void of symbolism, partly because of its
dependence on dialogue and not description. However, there is one major symbolic presence in the novel--Pemberley, Darcy’s
estate. The beautiful estate sits at the center of the novel, literally and figuratively, as a geographic symbol of Darcy
himself.
What are major conflicts?
The major conflict is between Elizabeth Bennett and the snobbish class-consciousness
of the era, which is brought to life by Lady Catherine de Bourgh and Miss Bingley. There are also more minor conflicts
between Elizabeth and Mr. Darcy, Elizabeth and Mr. Collins, and Lydia and her parents.
What is the point-of-view and its significance?
Pride and Prejudice is written in third-person omniscient. This allows the reader to
see the perspective of more than one character in the complicated social whirl of Regency England. It also embroils the reader
deeper into the conflicts and problems presented within the novel.
What figurative language is used?
There is little figurative language used in Pride and Prejudice, mainly because of its
heavy use of dialogue. Most of the information about people, surroundings, and appearances, is conveyed to the reader via
conversation between characters. Thus, the need for detailed snapshots is erased.
How are satire and irony used in the novel?
Pride and Prejudice is, at its core, a satire on the ridiculous demands of
socialitist obligations in Regency England. Austen satirizes the snobbish upper class and their constant struggle to
reach ultimate social acceptance. She also ridicules the lower-class for their inadequacies and misbehaviors resulting from
poor breeding.
Irony is used in several places throughout the novel within the dialogue itself. A prime
example is exhibited through Elizabeth's comments regarding Mr. Darcy's character.
This is an example of iron in the novel:
"Yes; but intricate characters are the most amusing. They have at least that advantage."..."But
people alter themselves so much, that there is something new to be observed in them for ever."
This is "the interest that makes the book 'go' and shows the type of awareness we are
analyzing...[someone's] behavior can be taken in so many ways, because they are not always the same people." This idea is
exhibited throughout the novel.
(Austen, #1)(Rubenstein, #10)(Sparknotes #9)
